amore italiano | oregon ballet theatre

WELCOME TO THE OPENING PERFORMANCE OF OREGON BALLET THEATRES 26TH SEASON: AMORE ITALIANO!

With this performance we dramatically expand the breadth of classical ballet in Portland by presenting, for the first time ever, the celebratory third act of Napoli by the Danish choreographer and ballet master, August Bournonville. We also welcome back one of North Americas most acclaimed choreographers James Kudelka, who is well known to Portland audiences and remembered vividly for his stunning Almost Mozartcreated on OBT in 2006.

Bringing the Bournonville style to Portland was a major undertaking, and I could not have imagined attempting it without the stellar team that we have assembled, headed up by the illustrious Frank AndersenFounder of The Bournonville Foundation and the former Artistic Director of both the Royal Danish AND the Royal Swedish Ballets. I had the pleasure of working for Mr. Andersen at The Royal Danish Ballet some years back and it was there that I became captivated by the wonderfully sunny, sweet, and technically dazzling work of the Danish master. This style of ballet is a direct link to the very beginning of our art form close to 200 years ago, an unbroken lineage that has been preserved and cherished in Denmark continuously. Sharing this work with you is a highlight for our company, and it represents a substantial investment on

LETTER FROM THE

SEASON SPONSORS

PRESENTING SPONSORS

Oregon Ballet Theatre would like to express its most sincere thanks to our most generous sponsors THANK YOU!

Cover photo by Yi Yin. Dancers Kelsie Nobriga and Chauncey ParsonsWardrobe by Adam Arnold

our part to you, our audiencea sign of our commitment to maintaining the traditions of our art form even while we break new ground. Just think: a contemporary (and friend!) of Hans Christian Andersen, a choreographer whose work is rarely performed in the U.S.is now, thrillingly, part of our world here at Oregon Ballet Theatre, here in Portland.

My relationship with James Kudelka is even more personal and goes back to 1985when I joined Les Grands Ballets Canadiens (in Montreal) and was introduced to this dance makers unique approach to bridging classical ballet and contemporary context. I had the great fortune of working with Mr. Kudelka throughout my eight-year tenure at LGBC, and I credit him with unlocking much of my potential as a dancer through the challenge of his choreography. James has never been content with doing what has already been done before, but rather sets himself and his dancers new challenges all the time. His wit, his musicality, and his mastery of the classical ballet idiom endow him with a wonderful perspective, and it is a personal thrill to bring him together with Oregon Ballet Theatre yet again.

Finally, what a treasure to include violinist Aaron Meyer in this performance that takes its inspiration from the exuberance of the Italian street scenes August Bournonville saw in the early 1800s and the pious yet somehow mysterious music of Carlo Gesualdo. Our Portland arts scene is so rich and varied and we relish the opportunity to connect the dots between our organization and the artists and groups that give our home base its distinctive appeal. Our deepest thanks to Aaron for sharing his artistry with us in this performanceand a note: pay close attention as you will get a sneak peek of this springs full-length ballet Beautiful Decay before his set is complete.

Enjoy! Kevin Irving

The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education & Access Fund" "Work for Art, including contributions from more than 75 companies and 2,000 employees.

OBT is supported in part by a grant from the Oregon Arts Commission and the National Endowment for the Arts

P2 | OREGON BALLET THEATRE

We are so glad you are here with us. OBT is our professional ballet company and you, the audience, are an integral part of our company. The dancers have dedicated their lives to their training and to developing the dance vocabulary and skill needed to take a choreographed musical piece, and bring it to the stage. The performance, and your enjoyment of

it, is the entire focus of their efforts.

Kevin Irving, our wonderful Artistic Director, spends a significant portion of his time thinking about how to surprise and delight you. Kevin consistently brings the best choreographers to Portland, and makes his artistic decisions with you in mind. His genius is in mentally placing himself in the same Keller Auditorium seat you currently occupy, and asking himself, What would inspire my emotions?

The Oregon Ballet Theatre team has dozens and dozens of volunteers, contributors, board members, and professional staff

dedicated to placing the best and most creative product on stage. Dennis Buehler, Executive Director, heads up an ever-improving administrative staff that marshals every penny and makes sure it is applied towards the success of the performance on stage.

The final member of the team is you. We count on you to enjoy, participate, critique, sit back, stand up, and be enveloped by the dancers performance and the music. Everyones effort, all year long, culminates with the interaction between our dancers onstage and our audience experiencing the performance. So, I say again, you are an important and integral part of the company. We are so glad you are here with us. Thank you for your support and for being a member of the OBT team.

Sincerely,

Cary Jackson Chairman of the OBT Board of Trustees

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2015|2016 Season

SEASON SPONSORS

The Nutcracker Dec. 12 - Dec. 26, 2015

Romeo & JulietFeb. 27 - Mar. 5, 2016

Beautiful DecayApr. 14 - Apr. 23, 2016

George Balanchines

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WELCOME TO THE FIRST PROGRAM OF OREGON BALLET THEATRES 201516 SEASON!

OREGON BALLET THEATRE | P3

ROCK VIOLINIST

AARON MEYER & HIS 6 PIECE BANDMUSIC Cadenza by Aaron Meyer Variation on a Theme of Paganini by Niccol Paganini, Aaron Meyer, and Tim Ellis

Linverno (Winter) from The Four Seasons by Antonio Vivaldi, arranged by Aaron Meyer and Tim Ellis Including an excerpt from Beautiful Decay, choreographed by Nicolo Fonte. Coming to OBT in April 2016

VIOLIN Aaron Meyer

GUITAR Tim Ellis

KEYBOARDS Jean-Pierre Garau

BASS Jamin Swenson

DRUMS Mike Braun

PERCUSSION Carl Smith

LIGHTING DESIGNER Michael MazzolaThe music from Aaron Meyers performance is featured on his new CD release and available in the lobby at intermission.

PAUSE

Napoli was ballet master August Bournonvilles ultimate triumph and won him the status of Danish ballet poet, as Hans Christian Andersen called him in a letter following the premiere performance on March 29, 1842. Since then, Napoli has been danced in an unbroken tradition for 150 years and has come to represent the essence of August Bournonvilles creativity, both in steps and ideas.

The ballet was choreographed after Bournonville visited Naples where he had been impressed by the local color and the vibrancy of life on the harbor of Santa Lucia. It appeared to be a city in constant movement. The first and third acts of Napoli were inspired by these Italian street scenes. Bournonville wrote in his memoirs:

From my window, in the course of an hour, I would witness more tableaux than I could use in ten ballets!

Act III of Napoli is a wedding celebration offering a joyous,

intoxicating, and seemingly endless stream of dance. At the 1842 premiere, an eye witness noted that the Danish audience, which then and now had a reputation for being reserved, was completely carried away and became really quite Italian!

Napoli, also known as The Fisherman and His Bride, opens on the Santa Lucia wharf in Naples. Teresina, the beautiful daughter of the widow Veronica, is in love with a poor fisherman named Gennaro. Veronica tries to find a wealthier match for her daughter, but observing their true love, she relents and agrees to their marriage. Full of joy, the couple embarks on a moonlight sail on the Gulf. Here their story takes a sudden turn as a violent storm emerges and sets in motion a series of dramatic events including: the presumed death of Teresina, her sequester and transformation into a Naiad by the sea spirit Golfo, a heroic rescue by Gennaro with the help of divine intervention by a sacred relic, and the couples decision to forgo the paradise of Golfos undersea world and to return to Naples for their wedding. By the time we arrive at act III there is much to be celebrated.

In the opening of act III, the townsfolk are gathered at the shrine of Monte Virgin near Naples. As Gennaro approaches, they shun him believing he was responsible for Teresinas death at sea and believe him to be in partnership with evil forces. But after he is blessed by the towns monk and the rescued Teresina appears, all these rumors are disproved and the couples wedding celebration can begin. The festivities are a bubbling series of dances: pas de six, solos, duets and trios, and culminate in the fiery tarantella! The happy couple then receives the traditional newlywed send-off in a gaily decorated peddlers cart.Napoli is sponsored by the Scan|Design Foundation and the Scandinavian Heritage Foundation.

CHOREOGRAPHY August Bournonville

MUSIC Holger Simon Paulli and Edvard Helsted

STAGERS Frank Andersen, Anne Marie Vessel Schlter, and Eva Kloborg

COSTUME DESIGNER Christine Meyers

LIGHTING DESIGNER Michael Mazzola

SCENIC DESIGNER Gene DentWORLD PREMEIERE: March 29, 1842, Royal Danish Ballet, Copenhagen, Denmark

OBT PREMIERE: October 10, 2015, Keller Auditorium, Portland, Oregon

NAPOLI ACT III

TODAYS PROGRAM

SUB ROSACHOREOGRAPHY James Kudelka

MUSIC Carlo Gesualdo

Madrigal selections: Moro, lasso, al moi duolo, Se la mia morte brami, Belt poich tassenti, Canzone del principe, Gioite voi vol canto, Se non miro non moro, Se vi suol il moi duolo, Asciugate i begli occhi, Merc grido piangendo, Languisce al fin, Tu muccidi o crudele

COSTUME DESIGNER Christine Darch

LIGHTING DESIGNER Michael MazzolaWORLD PREMIERE: October 10, 2015, Oregon Ballet Theatre, Keller Auditorium, Portland, Oregon

Gesualdo, an Italian prince and composer, discovered his wife in the act of adultery. His madrigal Moro, Lasso, was written in 1610, and is a tragic lament about a neglected lover who is dying in his agony.Excerpt from Moro, Lasso:

I die, alas, in my suffering, and she who could give me life, Alas, kills me and will not help me! O sorrowful fate, She who could give me life, Alas, gives me death!

Moro, lasso, al mio duolo, E chi pu darmi vita, Ahi, che mancide e non vuol darmi aita! O dolorosa sorte, Chi dar vita mi pu, Ahi, mi d morte!

INTERMISSION

Performance underwritten by Hedinger Family Foundation


FROM MY FIRST MOMENTS IN THE CITY, COPENHAGEN HAS TAKEN ME BY THE HAND AND SHOWN ME ITS MAGIC. If there was ever a line to make one jealous of a world traveler, thats it. The object of envy is OBT Soloist Candace Bouchard, who was one of six OBT dancers to take part in a week-long intensive program this July in Copenhagen, Denmark, home of the famed choreographer, August Bournonville.

While there are things that remind me of homefit and friendly people, bicycles everywhere, tons of green space, food cart podsCopenhagens rich history lends the city a cultural identity and weight that Portland is still very much in the process of developing. There are centuries-old palaces and churches with towers and gold-trimmed spires but also bold, newer structures, including two of the three theaters where The Royal Danish Ballet performs.

This envoy of OBT dancers was sent to Copenhagen to learn the Bournonville style of ballet leading up to the OBT premiere of act III of Napoli. Thanks to support from the Scan|Design Foundation and ballet master Frank Andersen, the OBT dancers spent the week at the Bournonville Summer Academy studying with some of the foremost experts on Bournonville style ballet.

Each day here begins with a basic barre, led by Eva Kloborg, former Principal Dancer and current Principal Character Artist with The Royal Danish Ballet. Former Royal Danish Ballet Artistic Director Frank Andersen and Bournonville teacher Anne Marie Vessel Schlter also help throughout the class. All three of them are with us all day long.

The Bournonville ballet style differentiates from what U.S. students are accustomed to in a variety of ways. For example, there are six established Bournonville classes, one for each day of the week, save a rest day. Students brought up in the Bournonville style have the order of each class memorized. In the U.S. most schools use an ever-changing variety of steps depending on what the instructor wants to work on.

For me, the hardest element to pick up was the positioning of the head. We rarely angle our heads to look under our arms now, but its a hallmark of the Romantic Era. The head is heavy, and putting it in an unfamiliar direction can make you feel a little like youre going to fall over, until you figure out all the other little adjustments to make!

Bournonville himself enjoyed the creative benefits of cultural exchange. Napoli, one of his best-known ballets, comes from time he spent in Naples, Italy. The brightness and energy of the choreography was inspired by the vibrancy of a city in constant movement. It goes to show how visiting a new city can open doors to new experiences.

COPENHAGEN

EDITED BY SAM COLE

SNAPSHOTS TOP TO BOTTOM:Dancers(from lr): Avery Reiners, Candace Bouchard, Jessica Lind, Jordan Kindell, Katherine Monogue, and Martina Chavez at the Museum Theatre in the Christiansborg Palace. Rehearsal with Candace Bouchard and Jessica Lind, photo by Avery Reiners On the street with Candace Bouchard and Jordan Kindell, photo by Avery Reiners. Jessica Lind coached by from Eva Kloborg, photo by Erin Gustafson.


COPENHAGEN

From my perspective, Candace mentions, Danes are pleasant and somewhat reserved both today and in the Golden Age of the mid-19th century when Bournonville was active. Life seems enjoyable and getting through the day is done with ease and a small smile.

Candace also explains to us the concept of hygge, a staple in Danish culture. It can be summed up as creating a warm atmosphere to enjoy the good things in life with family and friends. Hygge is also a part of culture in neighboring Scandinavian countriesit seems to be a cultural antidote to long, dark winters.

The direct manner of the Danes comes through even in the dancing. It isnt about egotistical bravura or competing to do the most pirouettes or getting your leg above your head all the time. Its about beautiful steps presented straight-forwardly in interesting combinations that complement the music.

"Most of what Im thinking of is how grateful I am to have seen Denmark first-hand, especially since so much of what was there when Bournonville was creating ballets still stands. I felt immersed in the style, both in and out of the studio, as if I could really experience the culture that produced this art and, therefore, understand better how to bring it to life.

As you settle in for Amore Italiano, we hope to provide you with an immersive and authentic experience, as if you are seeing Europe right alongside August Bournonville.

Denmark may sit at a slightly higher latitude, but Portlands winter days are also pretty long and dark, and I think weve developed our own brand of hygge here. That cozy feeling. The value placed on spending quality time with quality people and quality foodthat idea resonates with Portlandersor this particular Portlander, at least.

To read more about this exciting project visit the obt blog at oregonballettheatre.wordpress.com/blog/

This cultural exchange made possible by:

Blue ribbon society

Ballet can be daunting.

So we came up with something for a new generation of dance fans:The Blue Ribbon SocietyOBTs inviting all of Portland to enjoy ballet with friends... And games... And snacks... And free beer

Join in and let us shake up your ideas of what ballet can be

Tickets start at $15for groups of 10 or more.For more information,contact OBT Group Sales:503.227.0977x225or [email protected]

SEASON SUPPORT MEDIA SPONSORS


FRANK ANDERSONDirector/Stager, NapoliFrank Andersen became Artistic Director of The Royal Danish Ballet in 1985. His first term ended in 1994 when he took over as Artistic

Director of the Royal Swedish Ballet until 1999. He then resumed his post at The Royal Danish Ballet from 2002 until 2008.

In 2002, Andersen was among five artists to receive the Dance Magazine Award in recognition of outstanding contribution to the field of dance. In 2004 the American Scandinavian Foundation made Andersen Man of the Year in the U.S. In 2008, Andersen was awarded Commander of the Danish Dannebrog Order.

Born in Copenhagen, Denmark, Andersen began training at The Royal Danish Ballet School at the age of seven. He also studied under Vera Volkova, Stanley Williams, and Nora Kiss. He was accepted to the corps of The Royal Danish Ballet in 1971 and became a principal in 1977. His dancing has been described as conveying a love of life, humor, and charm in roles such as Geert in The Kermesse in Bruges, Gurn in La Sylphide, Franz in Copplia, and Puck in John Neumeiers A Midsummer Nights Dream.

In 1976, Andersen and Royal Danish Ballet principal Dinna Bjrn founded the Bournonville Group. Known in the U.S. as Soloists of The Royal Danish Ballet, this ensemble of 810 dancers toured the world for ten years as ambassadors of Bournonvilles work. They performed in the U.S., Canada, Central America, France, Italy, Sweden, Holland, Hong Kong, the Philippines, and Thailand.

Andersen has staged more than 30 productions of August Bournonvilles ballets for many internationally recognized companies including: A Folk Tale for The Royal Danish Ballet in 1991with set and costumes by Her Majesty Queen Margrethe II, La Sylphide for the National Ballet of China in 1999, and Napoli act III for the National Ballet of Cuba in 2008. In 2010, Andersen, together with his wife Eva Kloborg,

figure in Danish culture who also fought to improve the social status and security of his dancers. He died on November 30, 1879 in Copenhagen.Source: International Dictionary of Ballet, 1993

JAMES KUDELKAChoreographer, Sub RosaJames Kudelka is widely acknowledged as one of North Americas most innovative choreographers. His

mastery of both classical ballet and modern/contemporary dance has earned him commissions from companiessome 25 in allas stylistically diverse as American Ballet Theatre, Chicagos Hubbard Street Dance, and Les Ballets Jazz de Montral.

Even as a student at Canadas National Ballet School, Kudelka demonstrated a choreographic interest in exploring innovative approaches. While adept in the classical ballet vocabulary, he infuses it with a contemporary sensibility acquired from his intense interest in modern movement idioms.

Kudelkas work covers an impressive range, from virtuoso pas de deux, through large-scale and always arresting adaptations of such classics as Swan Lake, The Nutcracker, and Cinderella, to boldly innovative creative collaborations with dancers, designers, and musicians. Kudelka has never been afraid to tackle psychologically challenging subject matter in his story balletshe views dance as a primary medium of artistic discourseand through his gift for movement metaphor infuses poetic, emotional meaning into his many non-narrative works.

After nine distinguished years as artistic director of the National Ballet of Canada (19962005) James Kudelka continues to undertake collaborative projects that engage and challenge him as a choreographer.

AUGUST BOURNONVILLEChoreographer, NapoliAugust Bournonville was born in Copenhagen, Denmark, on August 21, 1805. A dancer, choreographer, ballet director, and teacher

who directed The Royal Danish Ballet for nearly 50 years, he established the Danish style of dance based on bravura dancing and expressive mime. His distinctive style is noted for its precision, neatness, lightness, and gaiety. It is filled with bouncy jumps, speedy footwork, small quick steps, and beats done while the upper body is held still.

He was trained by Vincenzo Galeotti, the Italian dancer and choreographer who became the founder of The Royal Danish Ballet, as well as by his father, French dancer Antoine Bournonville, who arrived in Copenhagen from Stockholm in 1792. Bournonville became a solo dancer at the Royal Ballet in Copenhagen at an early age. He created a style, although influenced from the Paris ballet, entirely his own in which elegance and grace dominated. As a choreographer, he made a large number of original ballets with very varied settings: from Denmark, Italy, Scotland, Russia, and South America.

In Le Conservatoire, Bournonville dramatized memories of his years of study in Paris where the key theme was harmony and grace. In his ballets, the harmony of the dance reflects the harmony of the soul: ballet steps are infused with joyful exuberance. Among his ballets still performed, three have become treasures of the Danish ballet repertoire. La Sylphide, Napoli, and A Folk Tale represent the essence of Bournonvilles artistic outlook. In these ballets, Bournonville maintained that art should be positive, its purpose to elevate us and to make us harmonious human beings. They are dedicated to a world of order, meaning, beauty, and harmony in which balance prevails.

Bournonville also directed the Swedish Royal Opera at Stockholm from 186164 and staged several of his works in Vienna from 185556. In 1877, following his return to Denmark, he retired and was knighted. Bournonville was a central


(see bio in this program), staged Bournonville's La Conservatoire and The Flower Festival in Genzano for the Vietnam National Opera and Ballet, and this culminated in major presentations at the Hanoi Opera House in May 2010.

Since 1997, he has been Artistic Advisor to the National Ballet of China, visiting the Peoples Republic on many occasions. In 2014, he published the first book in Chinese about The Royal Danish Ballet and August Bournonville. In 2013, he became the first Dane to be a Professor with the Beijing Dance Academy. Andersen is thrilled to share his passion for August Bournonvilles choreography with Portland audiences in this Oregon Ballet Theatre premiere production of Napoli Act III.

CHRISTINE DARCHCostume Design, Sub RosaChristine Darch designs and builds costumes and sets for

choreographers Julia Adam, Marc Brew, Val Caniparoli, Robert Dekkers, Jorma Elo, Jodie Gates, Adam Hougland, Jae Man Joo, James Kudelka, Gabrielle Lamb, Edwaard Liang, Matthew Neenan, David Palmer, Gina Patterson, Brian Reeder, Dwight Rhoden, Amy Seiwert, and Merin Soto. She has been commissioned by Ballet Arizona, Ballet Memphis, Atlanta Ballet, Axis, Charlotte Ballet, Cincinnati Ballet, Colorado Ballet, Complexions, Diablo Ballet, Houston Ballet, Imagery, Israel Ballet, Milwaukee Ballet, Le Ballet Nice Mditerrane, Oregon Ballet Theatre, Pennsylvania Ballet, Pittsburgh Ballet Theatre, Post:Ballet, San Francisco Ballet, Smuin Ballet, Washington Ballet, and BalletX. She lives in New York with acclaimed ballet composer Matthew Pierce. Upcoming projects include world premieres for Nicolo Fonte for BalletX and three for Complexions Contemporary Ballet at the Joyce. This is her second collaboration for OBT with Mr. Kudelka.

GENE DENTSet Designer, NapoliGene Dent has created set and lighting designs for many of Portlands memorable productions. In addition to his set designs for Oregon Ballet Theatres 1994 production of Romeo and Juliet, Dent created lighting designs for many OBT works including Between Two Worlds, Promise of Shadows and early productions of The Nutcracker.

He recently designed sets and lighting for the Broadway Rose production of Thoroughly Modern Millie and created lighting designs for The Sound of Music and The Drowsy Chaperone. He received two 2012 PAMTAs for the sets and lights for the Broadway Rose world premiere of Ripper. He designed the sets for the Broadway Rose production of Les Misrables, Dirty Rotten Scoundrels and Always Patsy Cline.

Dent has worked with Oregon Childrens Theatre for more than 20 years, designing sets and lights for Diary of a Worm, Charlie and the Chocolate Factory, and The Magic School Bus as well as lighting design for the companys first production, Treasure Island. Other Portland Companies include: Portland Opera, BodyVox, and Pixie Dust Productions. Hes designed for opera companies in Vancouver, Seattle, and New Orleans. In addition, Dent served as Production Designer, creating set and lighting designs for Portland's Singing Christmas Tree for many years. Dent is president of SCi 3.2, which designs and builds parade floats for major festivals throughout the west.

EVA KLOBORGStager, Napoli Eva Kloborg was educated at the Ballet School of the Royal Theatre. She became an apprentice in 1964 and in 1966 a dancer

of The Royal Danish Ballet where she was appointed character dancer in 1992. In 2007, she celebrated her 40th anniversary as a dancer with The Royal Danish Ballet. Today she is a Principal Character Artist with the company.

Kloborg has danced a large number of roles with The Royal Danish Ballet since her debut as Calliope in Apollo in 1966, including: Aureole, Chopiniana, Opus 1, The Moors Pavane, Andrea and Louise in The Kings Volunteers on Amager, Elisa and Victorine in Le Conservatoire, Pas de Deux from The Flower Festival in Genzano, Teresina in Napoli, Effy in La Sylphide, and Lady Capulet in Romeo and Juliet. As a character dancer she has also performed: Madge and Anna in La Sylphide, the Queen in Swan Lake, the Queen and Carabosse in The Sleeping Beauty, the Stepmother in Cinderella, Madame Larina in Onegin, Mrs. Christine and Muri in A Folk Tale, Veronica in Napoli, the Pianist in The Lesson, and Bertha in Giselle.

From 19902008, she has been a full-time Ballet Mistress and a teacher at the Royal Ballet School, as well as The Royal Danish Ballet in the Bournonville repertoire. She has also been teaching Bournonville classes as guest teacher in NYC at Perry Dance, with Alicia Alonso and the National Ballet of Cuba, at the Stanislawski Theatre Ballet in Moscow, at the Vietnam National Ballet in Hanoi and with the Finnish National Ballet. In addition to these many responsiblities she is a permanent guest teacher with the Inoue Ballet in Tokyo, with the National Ballet of China in Beijing, and with Nina Ananiashvili and the State Ballet of Georgia in Tbilisi. Kloburg is co-producing August Bournonvilles ballets around the world with Frank Andersen. The cities include: Florence, Cuba, Tallinn, Beijing, Tokyo, Prague, Shenyang, Moscow, Ljubljana, Hanoi, Havana, Stockholm, New Zealand, Helsinki, and Tbilisi. In 2013 and 2014 she staged and produced La Sylphide in Montevideo, and Napoli Act III in The Hague, Vancouver, and Lisbon. Kloburg is a Knight of the Danish Dannebrog.


AARON MEYERViolinistConcert Rock Violinist Aaron Meyer performs cutting edge original music combining world, progressive rock, and contemporary

classical styles of music with his six-piece rock orchestra. Classically trained at 5 years old, Meyer debuted with the Philadelphia Orchestra at age 11, and subsequently has soloed with international symphony orchestras including the Oregon Symphony and the Bangkok Symphony Orchestra in Thailand. Aaron has performed with the band Pink Martini, Smokey Robinson, and Everclear. Aaron travels the world performing concerts and conducting his music education workshops and master classes. Aarons newest album features the music from tonights performance and is available in the lobby. For more info on Aaron: www.aaronmeyer.com

CHRISTINE MEYERSCostume Design, NapoliChristine Meyers is a Costume Designer, Production Designer, and Cinematographer who has created for

opera, theatre, dance, and film. Current works include Sex with Strangers at Portland Center Stage and The Legend of Georgia McBride with Anita Yavich at MCC Theater in New York. Her work spans genres, including a recent collaboration with experimental dance company zoe|juniper, a music video for The Head and the Hearts Lets Be Still, Crayola at Oregon Ballet Theatre, and the classic Tartuffe at Seattle Shakespeare Company. Other plays include Seattle Repertory Theatres Circle Mirror Transformation, This, and Speech and Debate; and the earlier Peter Pan, The Highest Tide, and The Beautiful Things That Heaven Bears at Book-It Repertory Theatre, and Twelfth Night and Julius Caesar at Seattle Shakespeare Company. Film credits include the 48-hour film short Lethal Cotillion, which was chosen to screen at the 2008 Cannes Film Festival, and the indie feature Bhakti Boy. She has created dissolving dresses and

special effects for Alice in Chains video Lesson Learned. Her work with the International Handel Festival in Gttingen, Germany, included draping on Orlando, which was brought to Drottningholm Palace in Sweden.

ANNE MARIE VESSEL SCHLTERStager, Napoli Anne Marie Vessel Shlter was born in 1949. She trained at the Ballet School of the Royal Danish Theatre.

She became an apprentice in 1965 and in 1967 she was engaged as a dancer by The Royal Danish Ballet. In 2001, Vessel Schlter became a Ballet Master at The Royal Danish Ballet.

As a soloist Vessel Schlter has danced Eleonora and Marchen in The Kermesse in Bruges, and Swanilda in Copplia, the pupil in The Lesson, Clara in The Nutcracker, Helena in A Midsummer Nights Dream, and soloist roles in Napoli, The Flower Festival in Genzano, La Conservatoire, La Sylphide and Far from Denmark.

Vessel Schlter began teaching in 1979. From 1988 until 2006 she was Director of the Ballet School at the Royal Danish Theatre.

In addition to teaching, Vessel Schlter has staged a number of Bournonville-ballets at the Royal Theatre. In 1991, she staged a new version of A Folk Tale together with Frank Andersen, and in 2004 a new version of The Kings Volunteers on Amager. In 1998, she recreated August Bournonville's ballet Bellman for the Royal Swedish Ballets 175th anniversary. She has also instructed a number of ballets for the students at the Ballet School.

Vessel Schlter assists Frank Andersen for his Bournonville productions worldwide. In Florence, Cuba, Prague, Moscow, Montevideo, Lisbon, Tallinn, and Beijing and she teaches in the Bournonville style at The Royal Danish Ballet. In 2005, she published an updated version of the Bournonville School at the Royal Danish Theatre. Vessel Schlter is a Knight of Dannebrog First Order Class.

AMY WATSONGuest Principal Artist, Napoli and Sub RosaOriginally from Washington, D.C., Watson trained at the School of American Ballet and performed

with the Suzanne Farrell Ballet before joining the corps de ballet of The Royal Danish Ballet in 2000. In 2003, she was appointed soloist and in 2007, principal dancer.

Watsons roles as a principal included Other Dances, Princess Aurora in The Sleeping Beauty, Odette/Odile in Swan Lake, Teresina in Napoli, Kitri in Don Quixote, Anita in West Side Story, Titania and Hermia in A Midsummer Nights Dream, the Ballerina in tudes, Myrtha in Giselle, Irma in Abdallah, Victorine in Le Conservatoire, Lescauts Mistress in Manon, Olga in Onegin, Sophie in The King's Volunteers on Amager, Effy in La Sylphide, Calypso and Kirke in The Odyssey, Eleonora and the pas de deux in The Kermesse in Bruges, Princess Henriette in The Little Mermaid, Mercedes in Don Quixote, Betsy in Anna Karenina, and Babe in Twyla Tharps Come Fly Away.

Watson created a leading role in Bournonville Fantasy by Thomas Lund, Jacopo Godani's Uncontaminated, the principal part in Jo Strmgrens Air and in Jorma Elo's Lost on Slow, and the soloist part in Anna Lrkesen's Wings and Sidi Larbi Cherkaoui's L'Homme de Bois.

Watson has performed at Alexander Klpins Copenhagen International Ballet as well as with soloists and principals of The Royal Danish Ballet at the Dance Salad Festival in Houston, Texas.Watson has received a Helena Rubinstein Scholarship, a George Balanchine Scholarship, the Grant of Albert Gaubier (2004) and the Grant of Ulla Poulsen (2005). In 2011, she received the Order of the Dannebrog from Queen Margrethe II of Denmark.

KEVIN IRVING / ARTISTIC DIRECTOR ANTHONY JONES / SCHOOL DIRECTOR

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O R E G O N B A L L E T T H E A T R E P R E S E N T S

December 12-26, 2015 Keller Auditorium

GEORGE BALANCHINES

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INTERVIEW BY MARTY HUGHLEY.

I think once someone has experienced his work their world will be a little richer.

So said Laurence Lemieux of Montreals Coleman Lemieux & Compagnie about James Kudelka, just before the troupe made its Portland debut in 2007 with an evening of Kudelkas dances. The kind of work thats so hard technically that it cant be perfect, she continued. And thats like a really beautiful metaphor for life.

Followers of Oregon Ballet Theatre, however, already had a richer world, courtesy of Almost Mozart, a bit of gorgeously contained dynamism created for OBT in 2006. In 2009, the acclaimed Canadian choreographer returned to OBT with the world premiere of Hush, an abstract, large-ensemble piece set to etudes for solo harp. And Kudelka, the former artistic director of the National Ballet of Canada, has shared his creative riches with dozens of companies, from American Ballet Theatre to Hubbard Street Dance to Les Ballets Jazz de Montreal.

I cant overstate the impact working with James over the years had on me as a dancer, or the impact that seeing his work has consistently made on me as an audience member, says OBT Artistic Director Kevin Irving, who has known the choreographer for decades. James inspired me to push myself harder than I thought possible and enabled me to reach new heights as an artisthe pushed my technique, he pushed my stamina, and he pushed my ability to connect to the audience. It is a happy coincidence that, in this small world of ballet, James Kudelka is already well known here in Portland and that I am able to bring his unique perspective back to our audience.

Prior to his latest visit to Portland, Kudelka answered questions via email, commenting on his artistic inclinations and the creation of a new work expressly for the Amore Italiano program. The following exchange has been edited for brevity.

with JAMES KUDELKAQ


Of the many companies youve created work on, what distinguishes OBT?

I think Portland is what distinguishes OBT. It is a very interesting city, rather like San Francisco was in earlier decades. Through White Bird and their series, there continued to be a dance presence in Portland that had been lost in most other parts of the continent. At least this was true when I was (last) in Portland.

How does your familiarity with the company (in various incarnations) and with Kevin Irving affect your approach to an OBT commission?

I am coming to Portland knowing that I have been there before and with an open mind as to what the company is becoming. I know that the OBT I worked with had a very good work ethic and was assured that was in the blood, in the founding, of the company.

Opposite photo: Michael Linsmeier,

Xuan Cheng, & Jordan Kindell in

James Kudelka's Almost Mozart.

Opposite photo : James Kudelka

rehearsing with Alison Roper for

Oregon Ballet Theatre's 2006

premiere of Almost Mozart.

Photos by Blaine

Truitt Covert.

OBT initially announced that youd be using music by Luigi Boccherini for the new piece. What led you to decide that Carlo Gesualdos music was a better fit? Do you bring in set plans about structure based on the music, or is it more about using the dancers to develop moods and ideas?

Yes, I chose Boccherini but never felt comfortable with it, since my new ballet will share a program with Napoli Act 3. I was always concerned that the character of the suite I had imagined was too similar to the spirit of Napoli. I happened on Gesualdos madrigal Moro Lasso, and that lead me to the very dramatic story of the brutal murders of his wife, her lover, and his child.

It seemed to me that to go completely the opposite direction to Napoli in tone, and mood, and orchestration was a better idea. I like that the music sounds sacred, but the poetry of the text is secular. I like that the meter (the time signature) is almost impossible to know, so the music is all texture and atmosphere and though motifs repeat you dont always hear that coming. In my choreographic world of love, sex, and death, all three of these share a place in the score as in the composers life. It is extraordinary that a man capable of such jealousy and violence and paranoia could also be such a genius of harmony in vocal writing. I am coming to Portland with all this in mind, but I do not know yet how this will play out. I wont know how many people I even want in the ballet until I get on the plane.

Youre noted for, among other things, great stylistic range. Will Portland dance fans be experiencing a new side of your creative personality with this piece?

I promise to be exactly the same but incredibly different.

I DONT THINK WE SHOULD THINK OF A NIGHT IN THE THEATRE AS ALWAYS HAVING TO BE AS GOOD AS A NICE WARM BUBBLE BATH FOR OUR SOULS.

Q&A with JAMES KUDELKA CONTINUED ON NEXT PAGE


Your work has had a reputation for complexity and technical difficulty, and theres a wonderful quote you gave to Dance Magazine years ago to the effect that the challenge keeps dancers from smiling vacantly at the audience. Do you still see your work that way, or have dancers caught up with your technical demands, much in the way the works of Philip Glass and Steve Reich have become a bit less foreboding for succeeding generations of musicians?

Dancers nowadays are certainly more adept than in the mid-20th century. At that time, a big ballet company really would only have had one or two women capable of dancing Swan Lake or Giselle. Now that is not true; many could do the steps, but I still dont think that you would want to watch all of these dancers dance these roles.

There is always room for risk. The performer has to be willing to risk personally, spatially, and musically. The combination of these three things makes for good theatre and good dancing and should easily skirt mediocrity.

Its often noted that your facility with both classical ballet and contemporary forms is a key to your great success. In your mind, are there clear divisions between them or is it all part of a broad vocabulary?

Michel Fokine wrote that each dance should create its own vocabulary and create its own world based on its own needs. He was a choreographer able to go from pointe shoe to character shoe to bare feet because that is what the scenario demanded.

I think that a lot of the "new" ballet that came about in the 80s through choreographers like Forsythe and Kylin looked much better when it sat on the type of ballet dancers who were steeped in a much more solid ballet technique. These days...there is actually a lot of not very good ballet technique now going on underneath some very flashy choreography. Lately, I have become more enamoured of a kind of quiet transparency, which is much more related to Hush, that I made for OBT. The duet from Almost Mozart was similar. I imagine that the new work will be in this transparent vein.

Q&A with JAMES KUDELKA CONTINUED

Photos by Blaine Truitt Covert. Candace Bouchard in James Kudelka's Almost Mozart.


Does a given piece tend in one direction or the other based on the theme, the initial group of dancers, or something more organic to the process?

I dont know how I do what I do, but I have to trust that when I get to the studio, and the situation, that something will surface and there will be a ballet at the end of the process. Trust in the process is much more important to me than understanding it.

In an interview for SF Ballet a few years ago, you talked about wanting a have a new work go sort of emotionally or psychologically very, very, very down. How do you balance an interest in emotional depth and thematic complexityand perhaps a darker naturewith the necessity of keeping an audience entertained or at least engaged?

I dont think we should think of a night in the theatre as always having to be as good as a nice warm bubble bath for our souls. And I am not alone in this. Who said it was all supposed to be light and entertaining? What about Ibsen? It cant all just be what it has become: young people dancing for old people.

Youre not just one of the worlds most acclaimed dancemakers, youre a baker, a graduate of the French Culinary Institute in New York. Do you still own a bakery in Ontario? In any case, are there carryovers between baking and choreography as applications of craft? In the rehearsal studio, whats the yeast that makes the art rise?

Being a baker was more like being an artistic director. The menu is like programming, the preparation of pre-ferments and mixing, dividing and shaping are all the rehearsal period, the baking and delivery are the finished product, the performance, ready for sale. Everything planned out to be ready on time for opening night or the opening of the shop. .

TRUST IN THE PROCESS IS MUCH MORE IMPORTANT TO ME THAN UNDERSTANDING IT.

Photos by Blaine Truitt Covert. Martina Chavez & Brian Simcoe in James Kudelka's Almost Mozart.


LISA KIPPRehearsal DirectorLisa Kipp began studying ballet in Olympia, Washington and finished her training at Pacific Northwest Ballet School.

She danced with Pacific Northwest Ballet, Pacific Ballet Theatre, Ballet Oregon, Ballet of Los Angeles, Ballet Chicago, and James Sewell Dance, and also performed in the touring company of Andrew Lloyd Webbers The Phantom of the Opera. Kipp danced principal roles in George Balanchines Rubies, Tchaikovsky Pas de Deux, Square Dance, Concerto Barocco, and Apollo, and appeared as the Cowgirl in Agnes De Milles Rodeo. Prior to joining OBT in 2004, she was the Ballet Department Head for the school of Spectrum Dance Theater in Seattle, as well as the companys Rehearsal Director.

Kipp has been the ballet master for OBT for 9 years, and the companys rehearsal director for 2 years. As a ballet master she has assisted James Kudelka, Lar Lubovitch, Lola DeAvila, Nicolo Fonte, Francia Russell, Bart Cook, Christine Redpath, Christopher Stowell, Yuri Possokhov, and Helgi Tomasson. She has staged George Balanchines Rubies, Square Dance, and Who Cares? for OBT and is responsible for the corps de ballet in OBTs classical repertoire.

JEFFREY STANTONBallet MasterJeffrey Stanton trained at San Francisco Ballet School and the School of American Ballet. In addition to classical

ballet, he also studied ballroom, jazz, and tap dancing. He joined San Francisco Ballet in 1989 and left to join Pacific Northwest Ballet in 1994. He was promoted to soloist in 1995, made a principal in 1996, and retired from PNB in 2011. He originated leading roles in Susan Stromans TAKE FIVEMore or Less; Stephen Baynes El Tango; Donald Byrds Seven Deadly Sins; Val Caniparolis The Bridge; Nicolo Fontes Almost Tango and Within/Without; Kevin ODays Aract and [soundaroun(d)ance]; Kent Stowells Carmen, Palacios Dances, and Silver Lining; and Christopher

Stowells Zas. Stanton has performed as a guest artist for Le Gala des toiles in Montreal, Prague Gala of Stars, and the TITAS Command Performance of International Ballet in Dallas, Texas. In 2000, he participated in the George Balanchine Foundations Interpreters Archive series, dancing excerpts from Balanchines Episodes, coached by Melissa Hayden.

NIEL DEPONTEMusic Director & Conductor Niel DePonte has been the Music Director for OBT and its predecessor, Pacific Ballet Theatre,

since 1985. He has guest conducted for Boston Ballet, the Ballet of the Mussorgsky (Maly) Theatre in Russia, and at the Nureyev Ballet Festival. He has also conducted symphonic, pops, and youth concerts with the symphonies of Oregon, Syracuse, and Charlotte, among others. He is Artistic Director and conductor of the Young Artists Debut! concerto concert. He was a 2003 Grammy Award nominee for Best Instrumental Soloist Performance with Orchestra for his performance of Tom Svobodas Concerto for Marimba with the Oregon Symphony. His compositions and arrangements written for the ballet stage include: Christopher Stowells Adin, Carmen, A Midsummer Nights Dream, and Ekho; Houston Ballets 2002 production of Peter Pan; and OBTs 1993 version of The Nutcracker. DePonte holds a Masters degree and Performers Certificate from the Eastman School of Music and a degree in Education from the State University of New York.

MICHAEL MAZZOLAResident Lighting DesignerMichael Mazzolas critically acclaimed lighting and scenery has been seen in venues all

over the U.S., Europe, and Asia, ranging from opera houses to amphitheaters to circus tents to hay barns. The three-time New York Dance and Performance Award winner has designed lighting and scenery for Oregon Ballet Theatre; Pacific Northwest Ballet; San Francisco

KEVIN IRVINGArtistic DirectorKevin Irving began dancing with jazz classes in his hometown dance school (Long Island,New York), and later

joined the school and training ensemble of Alvin Ailey. From 1982 to 1985, he danced with The Elisa Monte Dance Company of New York but, at 24, he took a sharp turn toward classical dance and joined Les Grands Ballets Canadiens, in Montral.

Promoted first to soloist and then to principal dancer, Irving became a well-known figure wherever LGBC performed. In 1993, Irving joined Twyla Tharp Dance for a project that included performances at LOpera de Paris and the PBS television film of In the Upper Room.

From 1994 to 2002, Irving was ballet master and associate director with Nacho Duatos Compaa Nacional de Danza in Madrid, Spain. From 2002 to 2007, he was Artistic Director of The Gteborg Ballet in Sweden. The company, under Irvings tenure as director, was named the most important dance company in Sweden in Ballet Internationals critics poll. From 2007 to 2013, he was a frequent guest ballet master with The Royal Danish Ballet and has been a guest teacher with numerous other companies and schools. He has staged ballets by Nacho Duato and Nicolo Fonte on companies such as The Royal Ballet Covent Garden, Nederlands Dans Theater, Hubbard Street Dance Chicago, and The Australian Ballet, among many others. Irving was also Associate Director at dance company Morphoses (20112012), coordinating special initiatives aimed at defining the companys unique brand and profile in the dance world. In 2010, Irving founded I-DANCE (Inspiring Dance: American Nation Choreographic Exchange), a non-profit organization that has sent teachers and choreographers to dance communities in Central and South America. He was named Artistic Director of Oregon Ballet Theatre in July 2013.

By Joni Kabana

By Alison Roper

By Tatiana Willis By Tatiana Willis

By Tatiana Willis


Ballet, Whim WHim of Seattle, Queensland Ballet; National Ballet of Finland; Stuttgart Ballet; Grand Rapids Ballet; Ballet West; Ballet Nacional de Cuba; Trey McIntyre Project; The Washington Ballet; Houston Ballet; Rachel Tess Dance at the Wanas Foundation in Sweden, Baryshnikov Arts Center, NYC and LMCCs River to River Festival, Third Rail Repertory Theatre, Bebe Miller Companywith whom he has worked since the mid-eighties, and the Liz Lerman Dance Exchange. At the Kennedy Center Concert Hall this past June he designed lighting and video for the 2015 Presidential Scholars Awards. Mazzola has also designed scenery for two Comedy Central Celebrity Roasts and the 2015 Lincoln Awards at the Kennedy Center Concert Hall for Uplight, Inc, based in NYC. Some of his performance photography has been published in Liz Lermans book Hiking the Horizontal, as well on the websites and marketing materials for Bebe Miller Company and Rachel Tess Dance.

DENNIS BUEHLERExecutive DirectorDennis Buehler was named Executive Director for Oregon Ballet Theatre in

August 2014 and could not be more excited to be a part of the dynamic Portland community. Buehler joins OBT after leading Milwaukee Ballet in Milwaukee, Wisconsin, as its Executive Director for seven seasons.

During that time, Milwaukee Ballet not only significantly improved its organizational and financial health, but grew to be recognized as a national leader in the development of new work and for their strong commitment to training and community outreach. Buehler previously led the Sharon Lynne Wilson Center for the Arts, also in Wisconsin, for six years, where he was credited with successfully guiding one of the regions fastest

growing arts organizations through its initial strategic, artistic, and organizational development phases. He has served on the board for The United Performing Arts Fund in Milwaukee, been an active leader within the Creative Alliance of Greater Milwaukee, the Creative Coalition for Greater Milwaukee, served as a local advocacy captain for Arts Wisconsin and a planning committee member for the Milwaukee 7 Project, a regional collaboration initiative. Early in his career, Buehler held various producing roles with a number of theatre groups in both Florida and Wisconsin, including the Skylight Opera Theatre in Milwaukee from 1998 to 2002. He graduated from the Professional Theatre Training Program at the University of Wisconsin-Milwaukee in 1992. Buehler currently lives in West Linn with his wife Treena, an independent artist, and their two daughters.

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Concerto, Michael Pinks Dracula and The Hunchback of Notre Dame, Agnes De Milles Rodeo, Nicolo Fontes Bolero and Never Stop Falling (In Love), Paul Taylors Company B, and others.

BRIAN SIMCOEBrian Simcoe was born in Grants Pass, Oregon. He received his training from the School of Oregon Ballet Theatre, Pacific Northwest Ballet School, and Long Beach Ballet Arts Center. He joined OBT as an apprentice in 2004, was promoted to soloist in 2011, and promoted to principal in 2013. At OBT, he has appeared in Christopher Stowells Swan Lake, Nicolo Fontes Petrouchka, James Canfields Romeo & Juliet, and Jerome Robbins Afternoon of a Faun.

CANDACE BOUCHARDBorn in St. Louis, Missouri, Candace Bouchard began dancing at the age of 5. She joined OBT as an apprentice in 2003, became a full company artist in 2004, and was promoted to soloist in 2008. Some of her favorite roles include William Forsythes The Vertiginous Thrill of Exactitude and The Second Detail, Helen Picketts Petal, and Dew Drop in George Balanchines The Nutcracker.

MARTINA CHAVEZBorn in San Antonio, Texas, Martina Chavez began her training at age 9 under the direction of Buddy and Susan Trevino then continued her education at Maryland Youth Ballet. She joined OBT in 2006 as an apprentice, was promoted into the company in 2007, and to soloist in 2014. Her favorite roles have been in works created by George Balanchine, Nacho Duato, and Nicolo Fonte.

ANSA DEGUCHIAnsa Deguchi is from Nagoya, Japan where she began studying dance at the age of 5. She later trained with Chika Goto Step Works Ballet and City Ballet

School in San Francisco. She joined OBT as an apprentice in 2003 and was promoted to soloist in 2007. Some of her favorite roles with OBT include: William Forsythes The Vertiginous Thrill of Exactitude, George Balanchines Tarantella, James Canfields Romeo & Juliet, and Nacho Duatos Por Vos Muero.

PETER FRANC Originally from Lancaster, Pennsylvania, Peter Franc began dancing in Atlanta at the Metropolitan Ballet Theatre and continued training with the Louisville Ballet School. He then joined the Houston Ballet, rising to the rank of demi-soloist. Notable performances include works by Jerome Robbins, George Balanchine, Jir Kylin, Hans Van Manen, and Stanton Welch. He then spent three seasons touring with the Aspen Santa Fe Ballet performing a variety of contemporary ballets. This is his first season dancing with OBT.

MICHAEL LINSMEIERRaised on a family dairy farm in Wisconsin, Michael Linsmeier started his training at the Jean Wolfmeyer School of Dance. He attended Virginia School of the Arts for further training. After performing with Milwaukee Ballet for seven years, he joined OBT in 2011

XUAN CHENGXuan Cheng was born in Chen Zhou, Hu Nan Province of China. After studying at the School of Guang Zhou Ballet, she joined as a company member and rose to become a principal dancer. In 2006 she was invited by acclaimed Canadian choreographer Edouard Lock to join his Montreal-based company La La La Human Steps. She then joined Les Grands Ballets Canadiens. While there her roles included Juliet in Jean-Christophe Maillots Romeo and Juliet, Princess Lena in Christian Spucks Leonce and Lena and the Sugar Plum Fairy in Fernand Naults The Nutcracker. She joined OBT as a principal dancer in 2011. Her major principal roles include Giselle, Cinderella, Odette and Odile in Swan Lake, as well as roles in works by Nacho Duato, Nicolo Fonte, James Kudelka, and Trey McIntyre.

CHAUNCEY PARSONSBorn in Santa Barbara, California, Chauncey Parsons began dancing at age 12, at the Santa Barbara Ballet Center, under Michelle Pearson and Denise Rinaldi. At 15, he was accepted into the Kirov Academy of Ballet in Washington D.C., where he trained for three years under Vladimir Djouloukhadze. After graduating, he performed for the State Street Ballet, under Rodney Gustafson, for two years. In 2002, he joined the Colorado Ballet as a soloist under Martin Fredmann, and in 2004 was promoted to the rank of principal dancer. In 2008, he joined OBT as a soloist under Christopher Stowell, and was promoted to principal in 2009. Over the course of his career he has danced a wide variety of roles, including Basil in Don Quixote, Count Albrecht in Giselle, Prince Siegfried in Swan Lake, and Mercutio in Romeo and Juliet. Further, he has danced leading roles in Balanchines Rubies, Emeralds, Tarantella, The Nutcracker, and Stravinsky Violin

XUAN CHENG CHAUNCEY PARSONSSponsored by Jeannine Cowles

BRIAN SIMCOE* CANDACE BOUCHARD*Sponsored by John & Linda Lenyo

MARTINA CHAVEZ*Sponsored by Linda & Scott Andrews

ANSA DEGUCHI*

MICHAEL LINSMEIERPETER FRANC

Photos by Tatiana Wills *Former School of OBT StudentFor information on sponsoring a dancer contact [email protected]


and was promoted to soloist in 2014. Since discovering dancing as an art, interpreting lifes journey through movement and design feels to be a much more honest and vulnerable way to express himself than words have ever been.

THOMAS BAKERThomas Baker began dancing at the age of 15 in St. George, Utah. Prior to joining OBT in 2010, he studied with the San Francisco Ballet School on full scholarship. He then danced with Ballet San Jose from 2012 to 2014, rejoining OBT for the 2014/15 season. He has performed featured roles in works by Balanchine, Ashton, Rhoden, Naharin, and Cunningham.

EVA BURTONEva Burton was born in Los Angeles, California. She received her training in Los Angeles from Patrick Frantz and at San Francisco Ballet School before joining OBT for the 2009/10 season. She has been featured in works by George Balanchine, Nacho Duato, Nicolo Fonte, and Ben Stevenson. In the 2014/15 season she debuted as the Sugarplum Fairy in George Balanchines The Nutcracker, as Cinderella in Ben Stevensons production, and in Nicolo Fontes Presto.

THOMAS BAKER*Sponsored by Thomas Anderson & Jack Blumberg

EVA BURTONSponsored by Kathleen Kelly

SARAH GRIFFIN ADAM HARTLEY* MAKINO HILDESTADSponsored by Karen & Mike Weddle

JORDAN KINDELL*Sponsored by Dan & Don

KATHERINE MONOGUE*Sponsored by Paulo

KELSIE NOBRIGA* KIMBERLY NOBRIGA* COLBY PARSONSSponsored by Luwayne Sammons & Family

AVERY REINERS

SARAH GRIFFINSarah Griffin was born in Barranquilla, Colombia. She started dancing at the age of 3, training with Central Pennsylvania Youth Ballet, Ballet Estudio Mara Cecilia Daz (Buenos Aires, Argentina), Kansas City Ballet School, and Barnard College. She has performed with Dance Theatre of Harlem and Amy Seiwerts Imagery, among others. She joined OBT in 2014 and has enjoyed dancing featured roles in Nacho Duatos Rassemblement and Nicolo Fontes Never Stop Falling (In Love).

ADAM HARTLEYAdam Hartley is from Orange, California and began dancing at age 5. He joined OBT as an apprentice in 2009 and was promoted to company artist in 2011. Some of his favorite ballets to dance at OBT were William Forsythes The Second Detail, Nacho Duatos Por Vos Muero, and Nicolo Fontes Bolero.

MAKINO HILDESTADMakino Hildestad was born in Kumamoto, Japan. She started ballet at The Kumamoto Ballet School when she was 9. She joined Colorado Ballet in 2002 as an apprentice, was promoted to corps de ballet in 2004, and joined OBT in 2010. Her favorite roles at OBT are Rassemblement by Nacho Duato and

The Lost Dance by Matjash Mrozewski. She has been featured in the role of Helena in A Midsummer Nights Dream, The Second Detail by William Forsythe, Instinctual Confidence by Darrell Grand Moutrie, and Petal by Helen Pickett.

JORDAN KINDELLJordan Kindell was born in Paramount, California. He started his training at age 15 at Jefferson High School and at the School of OBT under Damara Bennett. Jordan joined OBT in its 2012/13 season as an apprentice and was promoted into the company the next year. He has been featured in Darrell Grand Moultries Instinctual Confidence, as the Candy Cane in George Balanchines The Nutcracker, and in Nacho Duatos Rassemblement. His favorite role is in Nacho Duatos Cor Perdut.

KATHERINE MONOGUEKatherine Monogue was born in Tacoma, Washington. She trained at the Washington School of Ballet in Washington, D.C. under Key Juan Han. She joined OBT as a Professional Division student in 2012, was promoted to apprentice in 2013, and joined the company as a company artist in 2014. She has performed numerous roles, including Peasblossom in Christopher Stowells A Midsummer Nights Dream, Helen Picketts Petal, and Nacho Duato's Rassemblement.


KELSIE NOBRIGAKelsie Nobriga is from Orange County, California and began dancing at the age of 5. She trained with Melissa Allen Bowman and Charles Maple and was a Professional Division student with Pacific Northwest Ballet. In 2011, she joined OBT as an apprentice, and returned as a company artist in 2014. Previously, she danced with Colorado Ballet. Some of her favorite roles with OBT are Marzipan from George Balanchines The Nutcracker and the Autumn Fairy from Cinderella.

KIMBERLY NOBRIGA Kimberly Nobriga grew up in Orange County, California. Starting in 2010, she trained and performed with the Pacific Northwest Ballet School and their Professional Division before joining OBT as an apprentice in 2013. As an apprentice she danced memorable roles such as the lead in the schools performances of Valse Fantaisie and Paquita. She was also featured in company performances as the Spanish Lead in George Balanchines The Nutcracker and the Winter Fairy in Ben Stevensons Cinderella. She joined OBTs corps de ballet in 2015.

COLBY PARSONSA native of Santa Barbara, California, Colby Parsons began dancing at the age of 13, studying ballet with Denise Rinaldi at the Santa Barbara Ballet Center. He continued his training on full scholarship at the Jacqueline Kennedy Onassis School at American Ballet Theatre in New York City. He danced with American Ballet Theatre II for three seasons, followed by dancing soloist and principal roles for Alberta Ballet in Calgary for another three seasons. For the 2014/15, season he joined OBT under Kevin Irving. For OBT he has danced the Prince in Ben

Stevensons Cinderella, a lead couple in Nicolo Fontes Presto, and the Cavalier in George Balanchines The Nutcracker, among other roles. He has performed as a guest artist in Japan, Costa Rica, Spain, Italy, Switzerland, and Canada as well as in several states in the U.S.

AVERY REINERSAvery Reiners is from New Jersey. He received training at San Francisco Ballet School and Boston Ballet School before joining OBT as a company artist in 2013. Some of his favorite roles with OBT include: Matjash Mrozewski's The Lost Dance, the Jester in Ben Stevensons Cinderella, and Nicolo Fontes Presto.

JESSICA LINDBorn and raised in San Jose, California, Jessica Lind began her ballet training at age 4. She trained for a year with San Francisco Ballet School before joining the Professional Division at OBT and became an apprentice in 2013. Her favorite role performing with OBT was the Summer Fairy in Ben Stevenson's Cinderella.

SHEA MCADOOShea McAdoo was born in Scottsdale, Arizona where she began dancing at the age of 3. Her ballet training began at Master Ballet Academy under the direction of Slawomir and Irena Wozniak. Shea joined OBT in 2014 as a student in the Professional Division before being promoted to apprentice for the upcoming season. Her favorite roles thus far with OBT include Spanish from George Balanchines The Nutcracker and Orange in Crayola.

ALEXANDER NEGRONAlexander Negron began dancing at age 8 with Elliot Fields Ballet Tech School in New York City. He then trained at the School of American Ballet for seven

ALEXANDER NEGRONJESSICA LIND SHEA MCADOOEMILY PARKERSponsored by Dean Richardson & Family

PAIGE WILKEYSponsored by Marilyn L. Rudin & Richard S. Testut, Jr.

IAN SCHWANER

years and at the San Francisco Ballet School for a year. Among the ballets he has appeared in with OBT is Nicolo Fontes Accidental Signals during OBTs Annual School Performance. This will be his second season with the company and he is pleased to share the stage with its dancers.

EMILY PARKEREmily Parker was born in Boston, Massachusetts where she began dancing at age 4. After graduating from Indiana University, she joined OBT as an apprentice in 2014. Her favorite roles thus far with OBT include the Spring Fairy in Ben Stevensons Cinderella and the Harlequin Doll in George Balanchines The Nutcracker.

IAN SCHWANERIan Schwaner, a native of Atlanta, took his first ballet class at age17 at the Northeast Atlanta Ballet. He then attended University of North Carolina School of the Arts on scholarship, where he danced principal roles in Ethan Stiefels The Nutcracker, The Sleeping Beauty, Birthday Offering, Susan Jaffes Metallurgy, and George Balanchines Allegro Brilliante. Ian joined OBT as an apprentice in 2015.

PAIGE WILKEYPaige Wilkey was born in Los Angeles, California where she began dancing at age 3. She moved to Boston at the age of 16 to train in the Pre-Professional Program at Boston Ballet School. She came to OBT as a Professional Division student in 2013 and joined the company as an apprentice in 2014. Her favorite roles thus far with OBT would be the yellow girl in Crayola and the Columbine Doll in George Balanchines The Nutcracker.

OBT STAFFARTISTICKevin Irving, Artistic DirectorLisa Kipp, Rehearsal DirectorJeffrey Stanton, Ballet MasterNiel DePonte, Music Director & ConductorTracey Sartorio, Executive Assistant to the

Artistic Director & Artistic CoordinatorIrina Golberg, Prinicipal Accompanist

PRODUCTIONBill Anderson, Director of ProductionShannon Goffe, Production AdministratorVictoria A. Epstein, Stage ManagerMichael Mazzola, Resident Lighting DesignerIan Anderson-Priddy, Production Electrician

& A/V CoordinatorTim Boot, Sound DesignerDavid Hoerz, Audio CoordinatorMatt Wilcox, Sound EngineerChristine Meyers, Wardrobe Project SupervisorPam Jett-Goodrich, First HandEileen Ehlert, Wardrobe & Shoe AdministratorBarbara Casement, Makino Hildestad,

Fuchsia Lin, Costume Shop CrewChris Andrews, Leslie Bernhard, Avery Bloch,

Charles Daniels, Jeff Dines, Gina Fagnani, Scott Foster, Dan Handleman, Brian Keith, Bob Lemon, Robin Rasmussen, Crystal Shade, Lance Woolen, and Kari VanSickel, Production Support Staff

Julia Lancaster, Scenic Artist

FINANCE AND ADMINISTRATIONDennis Buehler, Executive DirectorNeville Wellman, Director of Finance

& OperationsKaren Dunn, Accounting TempLinda Brown, Office Assistant

DEVELOPMENTAlison Roper, Major Gifts OfficerKeely McIntyre, Grants ManagerEmily Tucker, Development AssociateJustin Smith, Donor Relations

& Events Manager

MARKETINGNatasha Kautsky, Director of Marketing

& CommunicationsJames Bartlett, Audience Services ManagerSam Cole, Marketing AssociateAmy Willis, Patron Services Lead

COMPANY ROSTER | OBT

Kevin Irving Artistic DirectorDennis Buehler Executive Director Cary Jackson Board Chair

PrincipalsXuan Cheng, Chauncey Parsons, Brian Simcoe

SoloistsCandace Bouchard, Martina Chavez, Ansa Deguchi, Peter Franc, Michael Linsmeier

Company ArtistsThomas Baker, Eva Burton, Sarah Griffin, Adam Hartley, Makino Hildestad, Jordan Kindell, Katherine Monogue, Kelsie Nobriga, Kimberly Nobriga, Colby Parsons, Avery Reiners

ApprenticesJessica Lind, Shea McAdoo, Alexander Negron, Emily Parker, Ian Schwaner, Paige Wilkey

BOARD OF TRUSTEES

Cary Jackson, Board ChairNancy Locke, Vice ChairCate Millar, SecretaryJimmy Crumpacker,TreasurerKen CarraroRita DuynNancy FrischWilliam GaarHarold GoldsteinGary HanifanBrianne HyderKen IveyCharles L. JonesJeffrey S. KayeJohn LenyoKeith MartinBradley MillerNancy J. MillerSharon MirarchiReegan RaeDean M. RichardsonKevin Irving, ex officioDennis Buehler, ex officioCandace Bouchard, ex officio

THE SCHOOL OF OREGON BALLET THEATREAnthony Jones, School DirectorLisa Sundstrom, OBT2 Program Director

OBT2 is underwritten by M.J. Charitable Trust and John Van Buren

James Holstad, School AdministratorNatasha Bar, Ikolo Griffin, Elise Legere,

Olivia Pyne, Alison Roper, Kembe Staley, School Faculty

Olga Alehina, Tiffany Barclay, Irina Golberg, Ayako Matsuo, Chris Nickels, Katie Pyne, Accompanists

EDUCATION OUTREACHKasandra Gruener, Director of

Education OutreachBrook Manning, Dance Historian

& Teaching ArtistLinda Besant, Archivist/HistorianRene Adams, Hannah, Downs, Ikolo Griffin,

Rachel Nrhi, Robyn Ulibarri, Susan Kraemer, Teaching Artists

Amy Stahl, Office Assistant

ADDITIONAL SUPPORTRachel Austen, Graphic Designer

& Playbill Support

DANCER WELLNESS COMMITTEEAmy Werner, PT, DPT

West Portland Physical Therapy Clinic

Katherine B. McCoy, PT, MTC West Portland Physical Therapy Clinic

Richard Gellman, MD Summit Orthopedics

Katharine Zeller, MD Legacy Health

SPECIAL THANKS

IATSE Local #28, Oregon Childrens Theatre, ShowDrape Inc., White Bird Dance, Jeff Forbes, Portland Opera and Jim Sizemore, Resources Northwest, Inc. and John Patchett, Chris Balo.



TOUR DE FORCE ($25,000 AND UP)Jeannine CowlesHoward HedingerHenry & Amber HillmanGregory K. & Mary Chomenko

HinckleySue Horn-Caskey & Rick

CaskeyCary JacksonJean PierceArlene Schnitzer/Jordan

SchnitzerJohn Van BurenBarbara Yeager

DIRECTORS CIRCLE ($10,000-$24,999)Linda & Scott AndrewsDan Bergsvik & Don HastlerJimmy CrumpackerRita OHara DuynKaren & Bill EarlyThomas & Elizabeth

GeweckeJeanette HeinzKen Hick & Cheri Cooley-HickKevin Irving & Nicolo FonteCharles L. JonesJudy C. KelleyJohn & Linda LenyoNancy Locke & Don HarrisDevin MegyBrad & Nancy MillerSharon & Adam MirarchiPaul OBrienCarol Streeter & Harold

GoldsteinBob Sweeney & Cate MillarNani WarrenWendy Warren & Thomas

BrownMike & Karen Weddle

TOILE POINTE SOCIETY ($5,000-$9,999)AnonymousThomas Anderson & Jack

BlumbergRobert AughenbaughLinda Besant & Martha

GoetschDebi ColemanAnne & James CrumpackerEvelyn Curioso & Prashanth

VallabhanathCarolyn & Richard FrommKathleen KellyDiane KnudsenMargaret Kretschmar, In

MemoriamDr. Dolores Leon & Dr.

Fernando LeonMarilyn J. McIverLaura S. MeierSuzann & Dennis OttKelly & David ParkJohn Patchett & Cynthia

Ibarra

Yale Popowich, M.D. & Tina Skouras

Dean M. RichardsonLuwayne SammonsTatiana & Justin WillsDr. Kathy Zeller & Dr. David

Hill

VIRTUOSO POINTE SOCIETY ($2,500-$4,999)AjitahrydayaShauna & Scott BalloBrent Barton & Liz FullerRichard Louis Brown &

Thomas MarkLyn & Charles CameronGuillermina V. & Arthur

ChavezDr. Dennis & Jennifer

CrawfordMarilyn & Michael DeBonnyBill DickeyChuck & Barbara EdgertonNancy & Paul FrischWilliam E. Gaar & Lauren E.

BarnesRichard & Juliana GellmanWilliam GillilandMarilyn & Hans GrunbaumJamey Hampton & Ashley

RolandRonald & Jennifer HapkeBeth HarperAndrew & Ilene HarrisLinda Rae HickeyRonna & Eric Hoffman Fund

of The Oregon Community Foundation

Sandra & Stephen HolmesDrs. David & Katharine

HopkinsJohn & Tanya HugKen & Bernice IveyJan Jacobsen & Paul HartElise Legere & James

MitchellKathleen Lewis Fund of

The Oregon Community Foundation

Jerome MagillM. and L. Marks Family Fund


Keith MartinJudy & Louis McCrawPeggy MillerDrs. Yan & Patrick MorrisseyEllen & Carl NielsenJohn & Ginger NiemeyerJane S. PartridgeMelanie & Darren

Pennington, In Honor of Lainie Pennington

Allison & Steven PikeMary Rose & Maxwell WhippsMarilyn L. Rudin & Richard

S. Testut, Jr.Leslie Ann Sammons-RothJone Sampson & Sam

Weirich

The Schlesinger Family Foundation

Jacqueline M. SchumacherCarol & Tom ShultsDaniel & Dawn SimcoeAlbert & Victoria StarrJoan W. SterrettMinh Tran & Gary NelsonRobert Trotman & Bill

HetzelsonCynthia K. WallaceToby & Linda WarsonJay WiltBen & Alli Wood

PRINCIPAL DANCERS CIRCLE ($1,000-$2,499)Susan T. ArmentroutPatti & Lloyd BablerBarbara & Sidney BassLinda & Ron BorkanKay BristowSuzanne Bromschwig &

William DolanNancy & Andy BryantTreena & Dennis BuehlerAlex CarlsonThe James & Nancy Dalton

Charitable FundRobert & Patricia DantGail Hayes Davis & Michael

DavisValarie Grudier Edwards &

Richard LangdonLarry & Deborah FriedmanJames R. GoldenLora & Keith GordonTom & Sandy HagemanLaurie Hamilton & Kaleigh

YoungJessie JonasPatricia JonesMichael & Juliet KaneStephen KarakashianCarol Schnitzer Lewis Fund


Ross M. LienhartLaurie & Gilbert MeigsKirsten & Richard

MeneghelloJeffrey MorganKen & Hana MoyleGordon & Margaret NoelJ. Scott PritchardCarolyn & Hank RobbWilliam & Nancy Rosenfeld

Fund of The Oregon Community Foundation

Lori & Mike RussellVirginia SewellBarbara & Gilbert ShibleyJeremy Shibley & Romalia

Stickney-ShibleyJaymi & Francis SladenClaudia & Clark TaylorJohn A. ThorenDavid & Eileen ThreefootPeter & Ann Van BeverDorie & Larry Vollum

K. VorderstrasseWalter E. & Nancy P. WeylerJohn & Nancy Zernel

SOLOIST DANCERS CIRCLE ($500-$999)AnonymousMonica & Marcus AllenTom BardPat Behm & Gary JacobsenSam & Adriane BlackmanW.W. Buzz Braley, Jr.Jay & Victoria ClemensJeanie McGuire ColemanDiane CollierSue DarrowDrs. Patrick Dawson &

Tamara SimpsonKristine Denslow & Sherman

GavetteLeigh & Leslie DolinAnton, Raylene, and Taylor

EilersKristina & Paul ElsethMary & John EvansJoshua FerrerMr. & Mrs. Jonathan GaneMelissa & Robert GoodKen & Mary Lou GuentherJeanne-Marie Guise & Alex

HerzbergCatherine Marie GurskiRichard & Cheryl HardyThomas & Verna

HendricksonGerald Hjert, In Memory of

Rebecca PickettMaryanne & David HolmanJanet & John HummelWalter Jaffe & Paul KingLinda & Paul JohnsonLynn JohnstonMary Klein & Francis T.

SchneiderRomani Lay & Neville

WellmanGary S. LeavittDerek & Lydia Lipman Fund

of the Oregon Jewish Community Foundation

Vida & Jonathan LohnesDiane & Tom MacdonaldKathi McCoyRobert E. MonsonDan & Jackie MooreRobert & Dona MorrisCarolyn McKnight NicholsJay & McKay NuttRev. Dr. Rodney & Sandi

PageCarolyn & John ParchinskyStacy & Patrick PritchardCarol E. RatzlafMichele Rossolo & Matt

JohnsonDavia & Ted RubensteinMiriam RuthMatt Schmutzler & Mike LizioDiana ScogginsCarolyn & George SheldonBob Speltz & Dwight Adkins

Sue StegmillerJudith & David StonePeter VennewitzClaire & Peter WartonRichard Wasserman & Ann

Coskey-WassermanWeiss Fund of The Oregon

Community FoundationShawn WestFran & Mike WoolseyZela & Elsa

COMPANY ARTIST DANCERS CIRCLE ($250-$499)AnonymousGregory & Elizabeth ArntsonPaula M. ArsenaultCharles BaranyShelly BoelterJohn Bosshardt & Diana

PettyCharles Brasher & Betty

LavisIrene & Patrick BurkConnie ButlerWalter & Carolyn CarrMartina Chavez & Dave

McHenryDrs. Timothy & Theresa ChenDeniz & Austin CongerNathan ConnKent CopelandEmily CrumpackerWinnifred & Arthur DannerDoris EnnisEd & Marilyn EpsteinConrad Eustis & Roberta

KanterPhilip Fidler & Jane

CumminsRebecca FleischmanVerleen Fletcher & Richard

MacDonaldRichard Gibson & Carol

PeterkortHelen A. GoodwinBarbara & Marvin Gordon-

LickeyGail & Irvin HandelmanJames T. HarterBeatrice HedlundKaren Henell & Gregg

McCartyDr. & Mrs. David I. HillBeverly HoefferRobert & Pamela HowardTatsuo ItoJefferson Neurology LLCGerald JeliPamela K. JohnstonPaul KerleyMarsha KitchenSteve & Nancy KraushaarMary & Joseph LabadieMary N. LaughlinMartha J. LoganAnne Lynch & Jim AndersonJackie MacGregorAustin & Doris MackMarisa Mack

Gary Maffei & Marc LintnerLinda J. MagnessLinda L. MannEarlean MarshPamela MathesonJohn F. MathewsMason C. MazzolaMarjorie & Kurt MetzlerSusan Sammons Meyer &

Dennis MeyerDoug & Malinda MooreJohn & Cynthia MorganEvelyn MurphyAlison NelsonRob NelsonKaren OKaseyJ.P. Palanuk & Vinh WongDennis PetrequinRoma Peyser & OB OBrienJodee & Jerry PittmanJudith E. Posey & Edward J.

Doyle, MDMrs. Richard D. RiggsAlison Roper & Michael

MazzolaMiriam & Charles RosenthalClaire RussellSamuel SadlerDaniel & Kathleen SaucyCynthia ShaferDrs. Martha Sharman &

Warren ReidGary & Lydia SlanganJohn D. & Pamela SmithDrs. Justin Smith & Christine

LiuCaroline & Greg SparhawkDerek & Anita StablesTom Stansbury & Suzee

ParsonRalph Stevens & Victoria

RiveraLes & Elizabeth StoesslCindy Thompson & Brett

BenderGeorge & Nancy ThornBob & Nancy UllrichJudith & Gordon UmakiColette WiestErin Wilkey-CordrayBruce & Susan WinthropTamara YunkerKurt R. & Heather Zimmer

APPRENTICE DANCERS CIRCLE ($100-$249)AnonymousMary & Stephen AndrewsMary & Jim AndrewsPatricia & John C. AndrewsLiz & Andre AnjosSandra ArmstrongGennaro & Marilyn Manser

AvolioDiane BabcockJohn BaggJulia & Robert BallLinda BarkusRick & Bonnie BarronHoward BeckermanDr. Diana Bell

Oregon Ballet Theatre would like to express its sincere gratitude to those listed below for gifts received August 1, 2014August 1, 2015. Donations received after this period will appear in the next playbill in December.


Barry & Jacqueline Bennett

Paul & Pat BenninghoffPhil & Naomi BeymerMargaret & Wayne BlakeMerv & Jan BlasBeth Blenz-Clucas &

Richard ClucasRichard BotneyCandace Bouchard &

Adam LounsburyJoyce BrehmKarin BrocksbankDavid & Elaine BrownDenis Burger & Elaine

McCallLance & Deborah CaldwellMaurine & Paul CanarskyDarlene & Don CarlsonMary CarrKen CarraroJean CauthornSandy ChamnessHarriet CormackRhobert CottonAaron Courtney & Anne

NicholTerri CrossEloise Damrosch & Gary

HartnettWilliam DeBolt & Martha

GranerAnne DelanderMarisol DelaneyNancy M. & Frederic C.

DelbrueckNiel DePonteChuck & Patt DeRousieDagmar DettingerAdam & Emily DewHillary DixonMargaret Doolen & John

SlocomKim DrakeJosephine Drew & T.

Robert KnowlesDan Dunning & Christina

WinklerTony DuPeireGeorge & Susan DurrieAustin EddyWilliam ElligMichael ElsberryMartin & Annette EricksonDouglas ErtnerLynn FerberKatherine A. FinstuenSteve FiskKatie & Brian FlanaganGeorge FleerlageDoreen FloresMary FolbergCharles & Zoe FosterKelly FreulerTheresa FritchleJennifer FroistadSandy & Roberto FuchterJim & Mary Ann GabrielCathy Garrett, In Honor of

Nancy & Brad Miller

Theodore GatyRay & Joyce GeeConnie GettingerArthur & Judith GinsburgGary & Susan GoncherBetsy & George GrangerThomas Gredvig & April

Freund-GredvigJoann GribbleBrenda Grootendorst &

Mark HaggardMichelle GrossbergKasandra & Robert

GruenerDeanna HaleyKirk & Lisa HallMelissa & Gary HanifanJon Hanifin, MDKathleen HarrisonGary & Lynne HartshornRobert HealdM.J. HeilingSharon Henry-Jones &

Paul JonesSusan E. Herron, In Honor

of Carol C. HerronGaynor Hills & Gregory

FlemingJames HolstadAnne Huffington-Carroll &

Zachary CarrollMargaret HugCarol & Tom HullLinda IlligKaren JacobsonDavid & Margaret JeansJoanne JeneDavid JensenJonathan & Suzanne

JensenDr. Sally Jepson & Lynn

LippertDennis C. JohnsonDavid & Shirley JohnsonKatherine Jorda & Abby

AlfordStephanie Jorgensen,

In Memory of Rebecca Pickett

Terresa Jung & Patrick DHaem

Allan KarskMarla KazellArthur & Kristine KeilDoris & Eric KimmelJean KimseyMary KingRichard Kipp & Nora

DivincenzoJoewie KohLaura Korman & Chris HillLaura & Sharon KotsovosLeonard KuhlCarol La Brie & Roger

EdwardsBarbara Lamack & James

KalvelageNancy Lapaglia & Stephen

SlusarskiAbigail & Don Lawton

Elizabeth Le & Sean ONeill

Kathleen & Izzy LefebvreJan & Rorie LeoneShannon LeonettiJoan Levers & David

ManhartPatricia LiddellKimberly & Gregory LindAndres LoperaShelley LorenzenMarcy LowyJudy W. LyonsKate MachellChristine MackertDan MalleaEileen MarksonTheresa MasonAmy Maxwell & Patrick

LambOscar & Mary MayerKathy McCannMargaret McConnell &

Robert GrinerSusan & Doug McDonaldMargaret & Robert

McMillanKelly Meltzer & Merissa

MojicaGail & Jerry MelvinCourtney MersereauElise MeyersSarah MilliganTony Mix & David StaufferMonica & Dale MonroeJulie & Sebastian MorariuCarol N. MorganBertha A. MosesonPatricia G. MossThe NetSuite Team, In

Memory of MaryAnne Wakefield

Kris OliveiraMadeline & Allan OlsonSusan Olson & Bill NelsonDavid & Barbara OsbornLesley Otto & Alexander

NicoloffJoan PaglinGail & Fred Panzer, In

Memory of Rebecca Pickett

Veronica ParacchiniDenise & James ParkerJack & Chris PendletonAnne Frances PenfoundKaren PerzanowskiMelissa & Steven

PetermanMarilyn & Gaynor

PetrequinSara PickettKaren ProhaskaDavid & Reegan RaeSuzanne RagueMay E. RawlinsonBetty & Jacob ReissKatherine & Edward

Richman

Nancy Richmond & Bill Hughes

George & Mildred RoblesRosemarie RosenfeldCathy RoteMari S.Michael SagunCarol & Steven SandorRick & Sharon SchaeferClifford SchrockValerie SchuylerAaron ScottSusan & John ShepherdScott ShowalterHelene SilbersteinMargaret SmithDonald C. SpringerJames SteinCorinne & Lindsay StewartPat & Tony Stoneburner,


Julie SullivanTomohito TakeuchiPaul & Sabrina TeaysJean & Fred ThompsonRobert ToddCynthia TomlinsonTeresa TseGeorgia Tsefalas, In Memoriam

Lyle M. TuckerMimi UnderwoodKysa Vassily, In Honor of

Marilyn BrownPatricia & James WalkerJudy & Ronald Walsworth,


Douglas WatsonFrederick & Maureen

WearnBrian Weaver & Nikki

OCarrollDuane & Cynthia WeaverRoshanthi & Ranjeewa

WeerasinghePatrick WeishampelJudy & Benjamin WernerRebecca WhiteheadMr. & Mrs. Christopher

WilkeyMark & Sophie WilliamsReed & Christina WilsonJulie WilsonMary Ann & Jim WilsonMary Ann WishGeorge WittemeyerLinda M. WoodGail WoolfJack Wussow & Kyle

AdamsCynthia A. YeeApril & H. Daniel Zegzula,

MDJanet & Alan ZellErnie ZumBrunnen &

Grace Hawes

The Rvrence Circle recognizes those who have included OBT in their estate plan.

Robert AughenbaughDan Bergsvik & Don HastlerLinda Besant & Martha GoetschSuzanne Bromschwig & William DolanDavid & Elaine BrownDebi ColemanNathan ConnKaren & Bill EarlyPeter W. EdgertonMarilyn & Hans GrunbaumCharles L. JonesBelinda & Frederick KinyonPerry LeeDr. Dolores Leon & Dr. Fernando LeonDerek & Lydia LipmanMartha J. LoganMarna McCombKirsten & Richard MeneghelloBrad & Nancy MillerSharon & Adam MirarchiCarol N. MorganVirginia NelsonSuzann & Dennis OttRev. Dr. Rodney & Sandi PageJane S. PartridgeMarilyn L. Rudin & Richard S. Testut, Jr.Anne StevensonCarol Streeter & Harold GoldsteinJohn & Ann SymonsDavid Wardell, In MemoriamDavid Wedge, In Memoriam

RVRENCE CIRCLE


Community Corps de Ballet

$100,000 & UPThe Collins FoundationJames F. & Marion L. Miller

FoundationM.J. Murdock Charitable

TrustThe Regional Arts & Culture

Council, including support from the City of Portland, Multnomah County and the Arts Education and Access Fund

$50,000$99,999Barran Liebman LLP*The Harold & Arlene

Schnitzer CARE FoundationThe Intermec FoundationMeyer Memorial TrustThe Shubert FoundationWest Portland Physical

Therapy Clinic*

$25,000$49,999Coit Family FoundationHedinger Family FoundationHenry Lea Hillman, Jr.

FoundationKen Wright Cellars*Rose E. Tucker

Charitable TrustRussell Development/200

Market Street*Schwabe, Williamson

& Wyatt*Turtledove Clemens*

$10,000$24,999AndyBATT Studio*The Boeing CompanyCascadia FoundationClark FoundationHotel Modera*Jerome Robbins FoundationMentor Graphics FoundationOpsis Architecture LLPOregon Arts Commission,

this activity is supported in part by a grant from the Oregon Arts Commission and the National Endowment for the Arts

Jackson Foundation

The StandardThe Swigert Warren

FoundationU.S. Bank/U.S. Bancorp

FoundationWork for Art, including

contributions from more than 75 companies and 2,000 employees

$5,000$9,999AT&TGARD Communications*Ivey Jacobson & Co. LLCJuan Young TrustLeupold & Stevens

FoundationMelvin Mark Companies*Morel InkNel CentroOld Town Florist*PGE FoundationWilliam H. & Mary L.

Bauman Foundation

$2,000$4,999Agger Chiropractic &

Nutrition Clinic*Alaska Airlines*Buckley Law P.C.Grand Avenue Floral*Catherine M. Gurski, ND,

MSOM, LAc*Jonathan Lohnes, LMT*The Mark Spencer Hotel*Michael Curry Design

Studio*Northwest Natural GasPortland Plastic Surgery

GroupPosterGarden*Residence Inn Portland

Downtown/Riverplace*Solaris Bodyworks, Inc.*Tomasi Salyer Baroway*Wintz Family Foundation

$1,000$1,999Apolloni Vineyards*Bill Anderson DesignBridgetown Chiropractic

& Wellness Portland Clinic*

Connect the Dots, LLC*Food In Bloom*Aaron Meyer, Concert

Rock Violinist*

Patrick Lamb Productions*

Portland Center Stage*Robert F. Ratzow, DC*SCi 3.2 Inc.

UNDER $1,00010 Barrel Brew Pub Dr. Seth Alley*Lorraine Altomari*Bag & Baggage

Productions*Bedford Brown*Bend Brewing Co.*Bistro Marquee*BMW Portland *Brasada Ranch*Brickhouse*Broadway Physical

Therapy & Sports Rehabilitation*

Classic Chauffeur Co., Inc.*

Clearwater Clinic*Deschutes Brewery*Abby Drinkard, LAc*Elmers RestaurantsESCO FoundationFeast Portland Food &

Drink Festival*Fluidity Movement*Geranium Lake*Glow Boutique Salon*Brynn Graham, LAc.*Hair M Salon*Intel Charitable Match

TrustIsland Cafe*Jade Acupuncture*Kam & Kam Catering Co.*Katayama Framing*LAIKA*Kristen Livingston, DC,

ART*Longbottom Coffee & Tea*Lyric Creations*Marks on the Channel*McMenamins*Metropolitan Youth

Symphony*Mountain Spring Health

Clinic*Mucca Osteria*New Heights Physical

Therapy Plus*Northwest Film Festival*

OMSI*OnPoint Community Credit

UnionOregon Shakespeare

Festival*Oregon Symphony*Owen Jones and

Partners, LTDPerfect Picnics*Portland Art Museum*Portland Opera*R. Bloom Floral*Raven & Rose*Redhawk Vineyard & Winery*Silver Moon Brewery *Sip! McMinnville Wine &

Food Classic*Starseed FoundationStudio Blue*Sundial Baking & Events*Sunriver Brewing Compan

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